“ Here’s to freedom, cheers to art.
Here’s to having an excellent adventure and may the stopping never start.”
May really has been exhilarating and fun, but tiring too.
I’m also packing up and preparing to travel.
|I’m dreaming of warmer weather and painting outside|
School has finally ended and for me that means only one thing … Egypt
. This year I’m going back with added purpose, because I will finally start on my next project, my RHS
Last year I applied to the RHS
and to my amazement, I received a letter saying that my work is suitable for an RHS exhibition! I now have five years to complete a set of paintings on a theme of my choice, and I know exactly what I would like to paint! It has to be the date palm, Phoenix dactylifera
. Our garden in Egypt is full of them, and I just love painting them.
However I need to plan this out very carefully. I need a minimum of six paintings for the RHS and these paintings must work as a coherent exhibit. So my first consideration has been what paper to use, and what size the paintings should be.
I have been really fortunate to have met some amazing artists in recent months and have asked them all about their paper choices. Katherine Tyrrell
was a great help- not only has she written a great series of articles on RHS winners
, but she also took the time to go around the SBA exhibition
with me and talk to me about size.
It appears that size DOES matter after all.
|Struggling to make it fit on an A3 paper. |Gael Sellwood
was also a great source of information- she recently won a gold medal and also Best at Show at the RHS in Malvern. After our conversation, I decided that I would ditch the Fabriano Classico which I had been using since my SBA student days, and go for the better quality Fabriano Artistico.
So this week I took the plunge and bought what seems an absolutely enormous roll of Fabriano Artistico 300gsm paper
. By chance I found that the cheapest place to buy the paper was on my own doorstep at K&M Evans
in Dublin. They were significantly cheaper in price than the UK companies.
|My enormous roll of Fabriano Artistico dwarfs the A3 Fabriano Classico that I’ve been using. Below is the tube which at 75cm wide. just fits into my suitcase.|
Oh the thrill of all that paper! It’s a massive 140cm wide and 10 metres long, which, when you consider that I’ve been working on paper that’s 29.7x42cm (A3), seems quite daunting. I have been struggling with this restrictive size, so it will be a welcome relief to be able to work on a bigger area! The nice folks at K&M Evans also gave me a tube for travelling. I will have to cut some of the paper down to 75cm in order to fit, but at least the paper will be survive the numerous plane journeys ahead!
|Completed study page 2013|
I’ve also been making the slow switch-over to buying pans instead of tubes of watercolours. I had never really given the whole pans vs tubes debate much thought before, but read a fascinating post by Janene Walkky
about the difference. What a revelation!
Having pans of paint also meant that I am less likely to run into problems when travelling. I hate having to put my paints into my suitcase and into the hold of the plane. I can survive without clean clothes or even toiletries, but if my suitcase was lost with my paints inside, I would be a very grumpy artist indeed!
|Date tree study, laden down with fruit 2013|
It was also time to think about brushes. I really love my Winsor & Newton series 7 sable miniatures
, but it seems that recently everyone has been raving about the Rosemary& Co brushes
. I put in an order for some spotters and some ‘cat’s tongue’ filberts and was delighted to find that not only are they a better price, but they were delivered incredibly promptly too.
So that’s it. I’m all set for the long journey ahead and hopefully a very pleasant summer of painting. I’ll need a week or so to get myself settled and the internet sorted, so there’ll be a short break in the blog posts until then.
I’m ready for a new adventure!
“There is joy in feeling the bristles of a quality brush, seeing the richness and lush color of truly good pigment flowing onto the paper or canvas. The cheap stuff just makes for harder work and lesser results.”